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Elsewhere

Stéphanie D’Oustrac: Sirènes

After D’Oustrac’s striking success as Cassandre in Berlioz Les Troyens, this will reach audiences less familiar with her core repertoire in the baroque and grand opéra. Berlioz’s Les nuits d’été and La mort d’Ophélie, Wagner’s Wesendonck Lieder and the Lieder of Franz Liszt are very well known, but the finesse of D’Oustrac’s timbre lends a lucid gloss which makes them feel fresh and pure.

Faust in Marseille

We sat, bewildered, all of us, watching (enduring) Gounod’s sweet little tear jerker as a nasty drug trip. Except for the Australian Marguerite it was an all French cast and they all gamely played along, the sophisticated verse of Offenbach’s librettists Jules Barbier and Michel Carré clearly sailing out over an abrasive pit.

Down in flames: Les Troyens, Opéra de Paris

Hector Berlioz’s Les Troyens with Philippe Jordan conducting the Opéra National de Paris. Since Les Troyens headlined the inauguration of Opéra Bastille 30 years ago, we might have expected something special of this new production. It should have been a triumph, with such a good conductor and some of the best singers in the business. But it wasn't.

Luminous Mahler Symphony no.3: François-Xavier Roth, Gürzenich-Orchester Köln

Gustav Mahler’s Symphony No.3 with François-Xavier Roth and the Gürzenich-Orchester Köln, now at last on CD, released by Harmonia Mundi, after the highly acclaimed live performance streamed a few months ago.

Andrew Davis conducts Berlioz’s L’enfance du Christ at Hoddinott Hall

A weekend commemorating the 150th anniversary of the death of Hector Berlioz (1803-1869) entitled Berlioz: The Ultimate Romantic was launched in style from Cardiff’s Hoddinott Hall with a magnificent account of L’enfance du Christ (Childhood of Christ). The emotional impact of this ‘sacred trilogy’ seemed to gain further weight for its performance midway between Christmas and Easter, neatly encapsulating Christ’s journey from birth to death.

Love Songs: Temple Song Series

In contrast to the ‘single-shaming’ advertisement - “To the 12,750 people who ordered a single takeaway on Valentine’s Day. You ok, hun?” - for which the financial services company, Revolut, were taken to task, this Temple Music recital programme on 14th February put the emphasis firmly on partnerships: intimate, impassioned and impetuous.

Philip Glass: Akhnaten – English National Opera

There is a famous story that when Philip Glass first met Nadia Boulanger she pointed to a single bar of one of his early pieces and said: “There, that was written by a real composer”. Glass recalls that it was the only positive thing she ever said about him

Rachvelishvili excels in ROH Orchestra's Russian programme

Cardboard buds flaming into magic orchids. The frenzied whizz of a Catherine Wheel as it pushes forth its fiery petals. A harvest sky threshed and glittering with golden grain.

Independent Opera & Britten Sinfonia celebrate bicentenary of Queen Victoria & Prince Albert's births

To celebrate the bicentenary of Queen Victoria and Prince Albert’s births in 2019, Independent Opera (IO) and Britten Sinfonia present the first public performance of Joby Talbot’s new cantata A Sheen of Dew on Flowers on Thursday 11 April at the Barbican.

English National Opera to reprise its 5* production of Paul Bunyan at the historic Alexandra Palace Theatre

Following its sell-out success at Wilton’s Music Hall in September 2018, English National Opera’s acclaimed production of Benjamin Britten’s Paul Bunyan will be revived in May at the equally historically remarkable venue of Alexandra Palace Theatre.

Glyndebourne celebrates 25 years of its award-winning opera house in 2019

Unveiled in 1994, the new auditorium increased capacity by 50% to 1,200 seats and significantly improved backstage facilities. This allowed more people to enjoy world-class opera at Glyndebourne and enabled the company to stage bigger and more ambitious productions in the years that followed.

Lucrèce Borgia in Toulouse

This famed murderess worked her magic on Toulouse’s Théâtre du Capitole stage, six dead including her beloved long lost son. It was Victor Hugo’s carefully crafted 1833 thriller recrafted by Italian librettist Felice Romano that became Donizetti’s fragile Lucrezia Borgia.

Amanda Majeski makes a stunning debut at Covent Garden in Richard Jones's new production of Kát’a Kabanová

How important is ‘context’, in opera? Or, ‘symbol’? How does one balance the realism of a broad social milieu with the expressionistic intensity of an individual’s psychological torment and fracture?

Returning to heaven: The Cardinall's Musick at Wigmore Hall

The Cardinall’s Musick invited us for a second time to join them in ‘the company of heaven’ at Wigmore Hall, in a recital that was framed by musical devotions to St Mary Magdalene and the Virgin Mary.

Diana Damrau’s Richard Strauss Residency at the Barbican: The first two concerts

Listening to these two concerts - largely devoted to the music of Richard Strauss, and given by the soprano Diana Damrau, and the superlative Bavarian Radio Symphony Orchestra in the second - I was reminded of Wilhelm Furtwängler’s observation that German music would be unthinkable without him.

De la Maison des Morts in Lyon

The obsessive Russian Dostoevsky’s novel cruelly objectified into music by Czech composer Leos Janacek brutalized into action by Polish director Krzysztof Warlikowski beatified by Argentine conductor Alejo Pérez.

A First-Ever Recording: Benjamin Godard’s 1890 Opera on Dante and Beatrice

The composer Benjamin Godard (1849–95) is today largely unknown to most music lovers. Specialist collectors, though, have been enjoying his songs (described as “imaginative and delightful” by Robert Moore in American Record Guide), his Concerto Romantique for violin (either in its entirety or just the dancelike Canzonetta, which David Oistrakh recorded winningly decades ago), and some substantial chamber and orchestral works that have received first recordings in recent years.

La Nuova Musica perform Handel's Alcina at St John's Smith Square

There was a full house at St John’s Smith Square for La Nuova Musica’s presentation of Handel’s Alcina.

Ermonela Jaho is an emotively powerful Violetta in ROH's La traviata

Perhaps it was the ‘Blue Monday’ effect, but the first Act of this revival of Richard Eyre’s 1994 production of La Traviata seemed strangely ‘consumptive’, its energy dissipating, its ‘breathing’ rather laboured.

Garsington Opera’s 30th anniversary season: four new productions including an Offenbach premiere

Garsington Opera’s 30th anniversary season will feature four new productions - the UK stage premiere of Offenbach’s Fantasio, Smetana’s The Bartered Bride, Mozart’s Don Giovanni and finally Britten’s The Turn of the Screw.


OPERA TODAY ARCHIVES »

Performances

19 Feb 2019

Faust in Marseille

We sat, bewildered, all of us, watching (enduring) Gounod’s sweet little tear jerker as a nasty drug trip. Except for the Australian Marguerite it was an all French cast and they all gamely played along, the sophisticated verse of Offenbach’s librettists Jules Barbier and Michel Carré clearly sailing out over an abrasive pit. »

Recently in Performances

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30 Nov 2009

Mark Padmore at Wigmore Hall

Mark Padmore and The English Concert took us on a journey from the dark depths of melancholy to the ethereal transcendence of joy, in a display of consummate artistry at the Wigmore Hall. »

27 Nov 2009

Esther at NYCO

The question that puzzled me when attending Esther was Why.  »

24 Nov 2009

Così fan tutte, Opera Australia

Like most opera companies, the Mozart/da Ponte trifecta of Figaro, Don Giovanni and Così fan tutte are central to Opera Australia’s repertoire.  »

24 Nov 2009

Iestyn Davies at Wigmore Hall

There was a certain inevitability about the build-up to Iestyn Davies’ recital at the Wigmore Hall in London last Wednesday.  »

17 Nov 2009

From the House of the Dead at the MET

Leoš Janáček’s From the House of the Dead is a very odd duck to find on the stage of a grand opera house.  »

15 Nov 2009

Die Rheinnixen by New Sussex Opera

London has long been spoiled in the operatic rarity department, thanks to companies like Opera Rara, Chelsea Opera Group and University College Opera populating various areas of the Venn diagram that is obscure repertoire.  »

12 Nov 2009

Hindemith’s Das Marienleben — Soile Isokoski

Hindemith’s Das Marienleben has a formidable reputation, but is rarely heard. Soile Isokoski could change all that. This cycle is a tour de force, but tours de force need singers capable of achieving them.  »

11 Nov 2009

Lohengrin in Houston: A long-awaited return

Wagner was last on stage in Houston’s Wortham Theater Center in 2001, when the Houston Grand Opera staged Tannhäuser.  »

10 Nov 2009

Duke Bluebeard’s Castle at ENO

This grueling production of Bartok’s operatic masterpiece, Duke Bluebeard’s Castle, clearly did not set out to retain any of the ambiguity and mystery of the fairytale which inspired it.  »

09 Nov 2009

Salome in San Francisco

If Herbert von Karajan conducted Madama Butterfly and Maria Callas sang Isolde it follows that Nicola Luisotti should conduct Salome.  »

09 Nov 2009

Philip Langridge at Wigmore Hall

As an interpreter of Benjamin Britten, Philip Langridge has long been esteemed as the natural successor to Peter Pears;  »

04 Nov 2009

A View from the Bridge by Vertical Player Repertory

Unlike many contemporary composers — who too often derive their operas from full-length novels — William Bolcom (whose first opera, to be fair, was the novel-based McTeague, which I do not know) based his second,  »

04 Nov 2009

The 18th Bienal of Contemporary Brazilian Music, 2009

Rio de Janeiro, which has had a string of winning luck in recent days — not only will it host the 2014 World Cup of soccer, but also the 2016 Olympic Games — continues a laudable and venerable tradition in the arts — the Biannual Festival of Contemporary Brazilian Music, now in its 18th edition.  »

03 Nov 2009

Flavio and Alcina by ETO

In celebration of their 25th birthday and the 250th anniversary of the death of Handel, English Touring Opera has devised Handelfest, an extravaganza of five operas (Flavio, Teseo, Tolomeo, Alcina and Ariodante) and a wide variety of masterclasses and workshops taking in several of the company’s usual touring venues.  »

03 Nov 2009

Thomas Arne’s Artaxerxes — Baroque Hyperbole

Thomas Arne's masterpiece, Artaxerxes, was a huge hit after its 1762 debut. Yet the work is now a rarity. This spectacular performance at the Linbury Studio Theatre, will certainly raise its public profile.  »

03 Nov 2009

Paris: Off and Running

The Paris Opera season started with ‘un boum,’ scoring decisive successes with two infrequently performed stage pieces. »

30 Oct 2009

Tancredi by Opera Boston

At the time of the premiere of Tancredi in 1813, Rossini, not quite twenty-one years old, had been composing works for the stage for three years and was still not world famous.  »

30 Oct 2009

Verdi's ”Trilogy“ at Parma

For Italy’s opera community, October is Verdi’s month. The composer was born near Busseto (now part of Parma Province) on October 10, 1813.  »

29 Oct 2009

Ned Rorem premiere at Oxford Lieder Festival

Ned Rorem's Evidence of Things Not Seen received its European premiere at the Oxford Lieder Festival.  »

26 Oct 2009

The Turn of the Screw at ENO

Shadows and reflections flicker and dart alarmingly across Tanya McCallin’s dark, gloomy sets for David McVicar’s The Turn of the Screw, first seen in 2007, in a disturbing production that chillingly conveys both infinite mystery and claustrophobic terror. »

26 Oct 2009

Ravel and L’Heure Espagnole at Covent Garden

Greed, lust and folly … Richard Jones’ comic double bill, first seen in 2007 and faithfully revived here by Elaine Kidd, certainly sharpens the spotlight on those eternal human foibles.  »

26 Oct 2009

Der Rosenkavalier at the MET

The Met’s production of Der Rosenkavalier still arouses gasps from audience members as the curtain rises on each set — and laughter at appropriate moments — and tears at others.  »

25 Oct 2009

Baldassare Galuppi: Jahel

Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls at the Incurabili, one of Venice’s four competing Ospedali or musical orphanages, admired both their excellent performing standard (“indeed all were such as would have merited and received great applause in the first operas of Europe”), and the quality of the music that the aging maestro was still able to write for them: “ it is generally allowed here that his last operas, and his last compositions for the church, abound with more spirit, taste, and fancy, than those of any other period of his life”. »

25 Oct 2009

La Fille du Régiment in San Francisco

There is a buzz of excitement in the War Memorial Opera House on Friday nights that is akin to the Saturday afternoon buzz at the Met.  »

25 Oct 2009

Ruxandra Donose stars in L'heure Espagnole at the Royal Opera House

Ruxandra Donose sings Concepción in Ravel's L'heure Espagnoie in a double bill with Gianni Schicchi at the Royal Opera House. Concepción is an unusual personality, so Miss Donose's characterization is interesting.  »

25 Oct 2009

Achim Freyer's production of Wagner's Siegfried at Los Angeles Opera

Saturday October 17th found the Los Angeles Dodgers out of town for the weekend, but traffic still clogged the freeways leading to their stadium.  »

20 Oct 2009

Brilliantly Simple 'Tolomeo' by ETO

ETO’s production of Tolomeo for one night only at the Britten Theatre, capitalizes brilliantly on the necessary simplicity of this chamber-like opera, written at a time when Handel could no longer call upon fabulous sets and stunning effects, relying only upon great singing - and what singers he wrote it for, in fact the grand trio of Senesino, Cuzzoni and Bordoni. »

19 Oct 2009

Tosca at Lyric Opera of Chicago

For the first production of its 55th season Lyric Opera of Chicago has staged a revival of Puccini’s Tosca with a cast of notable singers led by music director Sir Andrew Davis.  »

16 Oct 2009

Fervaal by Vincent d’Indy

Vincent d’Indy lived eighty years and, when not composing, spent his time revising the teaching of music in France or simply annoying everybody. »

15 Oct 2009

Aida at the MET

Noblesse oblige: The Met feels it must present Aida — and Tosca — and La Bohème — and certain other gaudy spectacles — because it’s the Met and everyone expects the grandest of the grand.  »

13 Oct 2009

Abduction from the Seraglio in San Francisco

Some of the more memorable achievements of San Francisco Opera occurred in the brief life-span of its Spring Opera season, 1961-1981. »

13 Oct 2009

Turandot at ENO

A writer goes to dine in an urban Chinese restaurant, where his eye is caught by a distressed young woman among the crowd of diners.  »

13 Oct 2009

‘10 for 10’ recital gets 10 out of 10 for performance and audience

The Wigmore Hall never stands still: not content with having increased its audience by 300% over the past year, it now seeks both to reward its loyal patrons for their support in acquiring the Lease, and to bring in new audience members, with an innovative series of ten concerts where all the seats are priced at £10. »

13 Oct 2009

Il Barbiere di Siviglia at the MET

Bartlett Sher’s production of Il Barbiere di Siviglia has proved one of the more admired stagings of the Peter Gelb regime, but I’ve avoided it due to a surfeit of Barbieres and to fond memories of the John Cox production on Robin Wagner’s delicious turntable set, about as ideal a Barbiere as could be imagined.  »

11 Oct 2009

Wozzeck in designer khaki : Salonen and Keenlyside in London

In the opera house, stagings can impress by gorgeous sets and costumes. But in semi-staged performances, there's no where to hide behind. Semi-staging tests whether a director understands the music and what its dramatic soul might be. In dramaturgy, less is more.  »

11 Oct 2009

Don Carlo at Covent Garden

The full five-act version of Verdi’s historical epic, Don Carlo, makes for a long evening, but thanks to some fine singing and to the driving sweep of the baton of Semyon Bychkov this four-and-a-half hour performance raced by.  »

11 Oct 2009

Rigoletto at ENO

There is something quote refreshing about the fact that a staging as characterful as Jonathan Miller's 27-year-old “New York Mafia” Rigoletto is the nearest thing to a warhorse that ENO has in its repertoire.  »

11 Oct 2009

Il trittico in San Francisco

In the otherwise silent sixteen years between La fanciulla del west (1910) and Turandot (1926) Puccini had a flirtation with operetta, La rondine (1917) and with the quick and easy drama of the short story in his three one-acts, Il trittico (1918), composed as a one-evening cycle. »

11 Oct 2009

Orfeo at La Scala

Robert Wilson staged Salome at La Scala in 1987, installing a troop of student actors on the stage to enact some sort of abstract action flow that had no discernible relationship to the Salome libretto, meanwhile sung by concert dressed opera stars huddled on a corner of the stage.  »

11 Oct 2009

Los Angeles “Ring” continues to amaze

It’s three down and one to go in the first-ever staging of Richard Wagner’s Ring des Nibelungen at Los Angeles Opera. Following the premiere of Siegfried, the third installment of this epic work of music theater, it’s clear that director/designer Achim Freyer is a hands-down winner. »

09 Oct 2009

Tosca at the MET

In the end the performance does not rescue the dreary new production — still, the reason to visit the Met’s new Tosca is Karita Mattila’s bravura if wrongheaded interpretation of the title role. »

06 Oct 2009

Imogen Cooper's Birthday at the Wigmore Hall

This wasn't an ordinary concert but something very special. The Wigmore Hall was honouring Imogen Cooper on her 60th birthday. She is greatly loved here, both as soloist and as partner in song recitals. The atmosphere was electric. The house was packed, with many famous pianists and singers in the audience. It was a historic occasion, but it felt like a party among friends. »

04 Oct 2009

Il trovatore in San Francisco

SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.  »